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"The Wagon Moves":
Publié en 1930, As I Lay Dying est un roman dont les facettes sont aussi multiples que les voix de ceux qui interviennent tout au long des cinquante-neuf monologues qui le composent. Faulkner décrivait ce roman comme un « tour de force », écrit de manière fulgurante et dont la technique narrative éclatée reflétait la mise en péril d'une famille, après le décès de la mère. Ces contributions montrent la richesse du texte Faulknérien et invitent à de nombreuses explorations d'une histoire désormais canonique.
A Streetcar Named Desire
From Pen to Prop. "Play and Film" invites students to explore and evaluate one example of major 20th century American drama and to determine how its filmed version has been used to advantage. An even broader understanding of both the play and the film is thus made possible, as students consider the varying strategies with which playwright and film director address modern concerns.
Nouvelles du sud
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Faulkner at Fifty
2012 commemoration ceremonies included strange bedfellows, as the year marked the 50th anniversary of the deaths of both Marilyn Monroe and William Faulkner. The Faulkner commemoration events were an opportunity for scholars to honor not just the memory of the writer, but also the memory of dear departed members of the “Faulkner community” – a community of past readers and lovers of Faulkner’s oeuvre. Divided into three parts, this collection first focuses on ways of teaching Faulkner, and then endeavors to show how the Mississippi writer made use of his knowledge of other writers to give shape to his craft and later help others. The last section puts Faulkner into perspective by bringing together new ways of reading his works and new voices that echo his. The twenty-first century shows how Faulkner’s fiction can be dislodged from its traditional moorings, dislocated and placed in movement, and transformed and tutored into new meanings and significance. This volume is a tribute to the memory of Noel Polk, André Bleikasten and Michel Gresset, pioneers in charting the course of the Faulkner journey.
Ex-Centric Souths
“Ex-Centric Souths: (Re)Imagining Southern Centers and Peripheries” adds a voice in ongoing attempts to chart new routes and to decenter the South in many ways in the hope of exploring Southern identity and multiple Souths. The articles collected in this volume bring to the forefront the translocal and transnational connections and relationships between the South and the circum-Caribbean region; they address the changing nature of Southernness, and especially its sense of place, and finally they investigate the potential of various texts to narrate and revisit regional concerns. Some contributions hold up to view topics ignored and marginalized, while other decontextualize themes and issues central to Southern studies by telling alternative histories.
De Facto Trauma Reconsidered
This collection of essays revises contemporary trauma theory, from Freudian/Caruthian and post-structuralist perspectives. While Western trauma theory is often theorized according to post-traumatic stress disorder (PTSD), this volume discusses different forms of trauma that target decolonisation theories in Arab-Maghrebean and Afro-American contexts and Chinese narratives on courtesans. The contributors to this book also scrutinize the artistic representation of trauma in poetry and drama, adopting a cross-cultural approach to trauma theory.
Le Sud au cinéma
Le sud des Etats-Unis lie son histoire et sa représentation filmique, raconte la première à travers la seconde, particulièrement la période d'avant la guerre de Sécession : situations et personnages grandiloquents, gothiques ou grotesques, nostalgie, sensualité et trivialité. Des études sur le Sud américain au cinéma et du cinéma du Sud, depuis D.W. Griffith jusqu'aux années 2000.
Combat Death in Contemporary American Culture
Combat Death in Contemporary American Culture: Popular Cultural Conceptions of War since World War II explores how war has been portrayed in the United States since World War II, with a particular focus on an emotionally charged but rarely scrutinized topic: combat death. Agnieszka Soltysik Monnet argues that most stories about war use three main building blocks: melodrama, adventure, and horror. Monnet examines how melodrama and adventure have helped make war seem acceptable to the American public by portraying combat death as a meaningful sacrifice and by making military killing look necessary and often even pleasurable. Horror no longer serves its traditional purpose of making the bloody realities of war repulsive, but has instead been repurposed in recent years to intensify the positivity of melodrama and adventure. Thus this book offers a fascinating diagnosis of how war stories perform ideological and emotional work and why they have such a powerful grip on the American imagination.
